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NUEVA LUZpho t o g r a p h i c j o u r n a l

Volume 15 No. 2 – U.S. $10.00

TO M IKO JO N ESJUSTIN E REYESKYO H EIA BE

CO M M EN TARY BY SH ARO N M IZOTA

N EW W O RKS #14 BY AN DY A DAM S

Valdir Cruz, Salto Curucaca I, Guarapuava, Paraná, Brazil, 2002. Pigment on paper, 16x20"

EN FOCO'S PRIN

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To learn more about En Foco's programs, visit

www.enfoco.orgCOLLECT & CONTRIBUTE

Adál

Charles Biasiny-Rivera

Terry Boddie

Kerry Stuart Coppin

Valdir Cruz

Gerald Cyrus

Ana de Orbegoso

Bonnie Portelance

Lola Flash

Frank Gimpaya

Myra Greene

Lauri Lyons

SungKwan Ma

Sophie Rivera

Manuel Rivera-Ortiz

Tetsu Okuhara

Juan Sánchez

Kathy Vargas

Rojelio Reyes Rodriguez

Martín Weber

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NUEVA LUZphotographic journal volume 15:2

Table of C ontents

Cover: Justine Reyes, Still Life with Cup and M elon, Vanitasseries, 2009. C-print, 16x20”

Nueva Luz is published three times per year by En Foco, a non-profitorganization supporting fine art and documentary photographers of diverse cultures, primarily U.S. residents of Latino, African andAsian heritage, and Native Peoples of the Americas and the Pacific.Spanish translations of the commentary are now available at www.enfoco.org/nuevaluz.

Nueva Luz is made possible through subscriptions, our PrintCollectors Program, the National Endowment for the Arts, the NewYork State Council on the Arts, and the New York City Departmentof Cultural Affairs. En Foco is also funded in part by the NathanCummings Foundation, Elizabeth Firestone Graham Foundation,NALAC Fund for the Arts (National Association of Latino Arts andCulture, the Ford Foundation, Southwest Airlines and the AndyWarhol Foundation for the Visual Arts, Met Life), The LilyAuchincloss Foundation, the Bronx Council on the Arts and JPMorgan Chase, Canson Infinity, Lowepro, Manfrotto, ArchivalMethods, Fuji Film, Print File, Modernage Custom Digital ImagingLabs, WNYC.org, members, subscribers and friends.

Nueva Luz will make accommodations underADA guidelines for those needing large print.

NUEVA LUZ STA FF

EditorsMiriam RomaisDaniel Schmeichler

D esign andProductionOlga Omelchenko

EN FO C O STA FF

Executive D irectorMiriam Romais

Program A ssociateHilary Thorsen

Program A ssistantDee Campos

InternDani Cattan

G raphic D esignNita LeLisa Perkins

C o-Founder andD irector Em eritusCharles Biasiny-Rivera

O riginal D esign& C onceptFrank Gimpaya

PRIN TIN G

Eastwood Litho, Inc.315/437-2626

BO A RD O F D IRECTO RSSidney Baumgarten, Secretary, Vice ChairJulio BellberMark BrownAnne DamianosFrank GimpayaSusan Karabin, ChairpersonBruce MillerMiraida Morales, TreasurerMiriam Romais, President

BO A RD O F A DVISO RS

Nadema AgardTerry BoddieLeenda Bonilla Elizabeth FerrerRicky FloresMary Anne HolleyJeff Hoone Nitza LunaMarysol Nieves Sandra PerezBonnie PortelanceSophie RiveraOrville RobertsonMel RosenthalAriel Shanberg Beuford Smith

D ISTRIBU TO RS

Armadillo & Co.800/499-7674

Recently, a bumper sticker caught my attention: “Knowledge speaks, wisdom listens.”There is certainly an art to listening, and much can be learned in that simple act. Afterall, most meaningful communication occurs in person. The written word provides uswith knowledge, and it is frequently said that knowledge is power. But true commu-nication, which must include listening, has the power to move us into action. It can giveus strength and help us better understand the world and each other. It requirespatience and the willingness to let go of our point of view, but it can lead to a mightyoutcome.

We may take shortcuts from such powerful moments because we’re so busy withthings and tasks that obfuscate what matters most – perhaps we meet with friends lessoften hoping they’ll understand, rely more on digital means to make or maintain thathuman contact, or end up substituting personal interactions with the written word(insert favorite social media here). That just isn’t enough, and it shouldn’t be –– yetrelying on digital or one-sided written communication is an inescapable part of ourdaily living.

If knowledge is power, and the written word consecrates ideas into “history” – then itis only logical that so many artists wish to be in or have a publication. How else canwe become a part of history? When so many books in the annals of art history proclaimone predominant view, how do we best honor all the other unspoken contributions?We all yearn to be heard.

Validation and documentation is the founding principle of this photographic journal,and in an attempt to deepen a dialogue of collaborative understanding, our Nueva LuzArtist Talksand Artist Interview Serieson our blog take things the next step. We learn so much more when we involve all our senses, and reflect on our experiences. Cometo a talk and ask questions. Listen to our podcasts. Combine sight with sound, and seewhat memories it triggers. We hope you’ll listen.

Editorial

Copy r i g h t © 2011 by En Foco, Inc. (ISSN 0887-5855) All Rights Reserved • 718/931-9311 1738 Hone Avenue, Bronx, NY 10461

www.enfoco.org

Miriam Romais,Publisher and Editor

© R

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Editorial . . . . . . . . . . . . . . . . . . . . . . page 1Tomiko Jones . . . . . . . . . . . . . . . . . . page 2–11Justine Reyes . . . . . . . . . . . . . . . . . . page 12–21Kyohei Abe . . . . . . . . . . . . . . . . . . . page 22–30Commentary by Sharon Mizota . . . page 31–32Contributors . . . . . . . . . . . . . . . . . . page 33Intercambio . . . . . . . . . . . . . . . . . . . . . page 34–36

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Tomiko Jones, Untitled, Passage series, 1989-2011. Archival pigment print, various sizes.

Artist Statement"The images in Passagespan two decades of photographing my grandmother’s home in Kohala, on theisland of Hawai’i. I had planned to spend the summer of 1989 with her, but she was diagnosed with bonecancer that winter and deteriorated rapidly. I bought a mini-cassette recorder, and on advice of my photography professor, a hundred feet of bulk film. I left college early and went to see her.

Despite her passing I felt determined to fulfill the promise of that summer. This began a long cycle of return trips. At first I did not now how to put these images together; I only had a strong feeling that it was important to start doing so. I wanted to tell the broader story of migration and loss, family connection and the notion of home. It became clear that it was also about my intimate relationship tothese overarching concepts.

The Kohala house stood primarily empty for several years after my uncle passed away. Eventually my mother’s generation decided to sell the house as the ability to maintain it became unrealistic for an aging generation.

Place is important in all of my work and it is openly apparent here. The sense of home was an anchor for me during a childhood of mixed identity, and continues being so even today. I see this work as an artifact that becomes history, standing in long after the house no longer belongs to us or is gone alto-gether. Taxonomies are loosely created based on my relationship to objects, rooms, the living and thedead, and ultimately, they become a correspondence across generations."

Tomiko Jones

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Tomiko Jones

Untitled, Passage series, 1989-2011. Archival pigment print, various sizes.

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Tomiko JonesUntitled, Passage series, 1989-2011. Archival pigment print, various sizes.

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Justine Reyes, Still Life with Chicken Game and Flowers, Vanitasseries, 2009. C-print, 16x20”

"Taking inspiration from Dutch Vanitaspaintings, these photographsincorporate personal artifacts within the traditional construct of stilllife. Pairing objects that belonged to my grandmother with my ownpossessions speaks to the concept of memory, familial legacy and thepassage of time. The incorporation of modern elements such as theSaran wrap, plastic, sugar packages etc, as well as the use of photog-raphy itself, adds an additional layer of nostalgia and irony whenviewed within the historical framework of Vanitas painting.

Both the decomposition of the natural (rotting fruit and wilting flow-ers) and the break down of the man-made objects, reference the phys-ical body, life’s impermanence and the inevitability of death. My workexamines identity, mortality and the longing to hold on to things thatare ephemeral and transitory in nature."

Justine Reyes

Artist Statement

Still Life with Cup and M elon, Vanitas series, 2009. C-print, 16x20”

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Just ine Reyes

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Justine ReyesStill Life with D rawers, Plate and Conch, Vanitas series, 2010. C-print, 16x20”

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Justine ReyesStill Life with Buttons and Rind, Vanitas series, 2010. C-print, 16x20”

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Justine ReyesStill Life with Lunchbox and Eggshells, Vanitas series, 2010. C-print, 16x20”

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Justine ReyesStill Life with Fish and O range Slices, Vanitas series, 2010. C-print, 16x20”

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Justine ReyesStill Life with Banana, Purse and Change, Vanitas series, 2010. C-print, 16x20”

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Justine ReyesStill Life with Tea and Grapes, Vanitas series, 2010. C-print, 16x20”

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Justine ReyesStill Life with Book and Figs, Vanitas series, 2010. C-print, 16x20”

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Justine ReyesStill Life with Tea Set, Picture Fram e and Cake, Vanitas series, 2010. C-print, 16x20”

Kyohei Abe, Untitled #9, Imaginary Scape series, 2009. Archival pigment print, 16x16”

"Most of my images are built upon a formula, a structure of both space and content. I was originallytrained as an architect and designer, so I tend to build compositions that are clean, well ordered, and simple in content and composition.

In my creative process, I always look for juxtapositions and interrelationships that create newperceptions and new meanings. I always discover a structure, or some form of order within. I thenlook for a more complex system existing within the simpler structure. In the end, the results of thisexchange of elemental play between images, space and myself are attractive. Photography is a mediumthat fosters the belief that we have the ability to preserve reality, when in fact the reality we thoughtto be recorded actually exists in the conceptual space between viewer and imagery.

I work with the idea of the paradox between control and development. Throughout the process ofthe creation of my imagery, everything must be controlled, a parallel that I see in the tradition of 17thcentury Northern European paintings. Simultaneously I seek a dialogue between objects, the camera,and myself during the process. This mixture of concepts creates a new meaning. I am attracted to thediversion created by that exchange. At a glance, the result is that my photographs create an ambiguousand fictitious environment, which is something that really interests me.

All my images are the result of combining physical construction and digital technology. They areconstructed with multiple images that are individually captured, then cropped and stitched, whichresults in superior resolution—a perfect illusion. I feel that the result of presenting in hyper-realresolution is to draw viewers deep into my works, suspending their disbelief and dazzling at theintersection of illusion and reality."

Kyohei Abe

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Artist Statement

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Untitled #11, Imaginary Scape series, 2008. Archival pigment print, 16x16”

K y o h e i A b e

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Kyohei AbeUntitled #7, Im aginary Scape series, 2009. Archival pigment print, 16x16”

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The works featured in this issue remind me of a mid-1990s piece by Gabriel Orozco. Among many smallobjects on one of his W orking Tablesinstallations, it was an arrangement of four plastic yogurt caps (Dannon,I believe) forming a transparent four-leaf clover ringed in bright blue. Seemingly inconsequential, it’s theonly thing on the table that I remember. A simple gesture, it opened up a world of associations. It was a blitherejection of sculptural craft; it was also Pop art, coaxing modernist abstraction out of mass-produced objects.And it was a kind of still life—a purposeful arrangement of everyday objects that called attention to the beauty of detritus and collapsed the distance between abstract art and industrial design. In otherwords, it functioned as still life paintings traditionally have—to condense grand ideas into the quotidianshapes of food, flowers, and the humble vessels that contain them.

From this perspective, still life is less a genre of painting than the concept that everyday objects may standin for bodies or ideas (which, from a certain perspective, is the definition of art in general). This notionseems particularly suited to photography, which traditionally draws its subjects from the visible world,ranging from the Surrealist experiments of Man Ray to Edward Weston’s voluptuous peppers and RobertMapplethorpe’s sensuous flowers. More recently, artists have used still life to examine the history of thegenre itself, such as Jo Ann Callis’ impertinent riffs on 1950s commercial photography, and Sharon Core’smeticulous recreations of Raphaelle Peale’s 18th century still life paintings.

Justine Reyes, Tomiko Jones, and Kyohei Abe all take up still life and art historical traditions in different ways, but their work is united by an interest in using objects to “speak” of larger personaland philosophical issues.

Justine Reyes is inspired by Dutch Vanitaspaintings of the 17th century, in which the cycles of life anddeath are allegorized in ripe and decaying fruit and flowers. Her photographs skillfully capture the tenderlight, rich colors, and sumptuous textures that fascinated Dutch masters, but they subtly tweak tradition byinserting evidence of present-day life. A cut melon sags under the weight of its own senescenceon a bed ofcrinkly plastic wrap. A bunch of grapes and a cup of tea are carefully arranged on a weathered tabletopscattered with sugar packets. A piece of cake rests on a paper plate alongside a plastic fork. The introductionof these mass-produced items gives new meaning to the idea of still life as a meditation on death. For whilesuch items are certainly disposable, they endure in another way: the melon will rot, but the plastic wrap

Life,Stilled

Commentary

JustineReyes

by Sharon M izota

32 Nueva Luz

will remain. Among these contemporary products are also some with more personal connotations:a framed family photograph, a necklace, a “King Kong” lunchbox. Although the specific histories of theseobjects are unclear—they are a mix of Reyes’ belongings and those of her late grandmother—their placement in the space and light of the Vanitastradition imbues them with a sense of melancholy and loss.By including contemporary, personal objects, Reyes not only inserts her own reality into a venerated art historical tradition, but also frames the present—despite its throwaway culture—within the grand dramaof birth, blossoming, decay, and death.

While Reyes places personal objects within a setting of beautiful artifice, Tomiko Jones attempts to recordthem as they are: the plainspoken evidence of a single life. Her project, Passage, is also a document of objects and spaces belonging to her late grandmother in Hawai’i: a collection of Japanese dolls, a rustypair of scissors, a bright green telephone. They are for the most part unremarkable items that neverthelessbear the evidence of a particular life: the grime on a stepstool, a phone number taped to a lampshade.Arranged in small groups, the images are a somewhat obsessive effort to document and preserve, but alsoto create order, to make some sense of what is left. In this way, Jones’ work employs strategies similar to those of the New Topographics school, whose adherents trained an unsentimental eye on everydayarchitecture to create typologies of form. But despite its taxonomic aspirations, Jones’ project is highly subjective. Indeed, her groupings might be seen as an effort to re-create—not only visually, but spatially—the feeling of her grandmother’s home. It is this balance between the images’ charged, intimate context and their detached, straightforward quality that makes Passagea bittersweet document of remembranceand letting go.

Kyohei Abe also photographs everyday objects, but to rather more fanciful ends. Placing toys, blocks, and other unassuming items on plain white grounds, he creates fantasy landscapes that also read asabstractions. A wad of cotton balls becomes a lonely cloud or a snowy hillock. A red cube and a miniaturewhite picket fence are enough to suggest domesticity and the tension between safety and freedom. Andstaggered rows of tiny green blocks provide the barest suggestion of a grassy plain receding into the distance, or ripples in a body of water. These minimalist tableaux strip representation down to its essentialsá la early modern painters like Mondrian or Malevich. But they also open it up to myriad possibilities,inviting us to fill in the blanks. While Abe’s images are fundamentally still lifes, they don’t suggest thepassage of time or the inevitability of death so much as their total suspension. In this sense, the images are perhaps more like memories themselves: recalled but never fully relived. It’s as if each of Abe’s modestarrangements were a snippet of the past: a basic, almost platonic form remembered, but without detail.Abe’s photographs remind us that memory is partial, fleeting, and selective, but also generative. In thissense, they are a bit like my memory of Orozco’s yogurt caps, which have remained—while the rest of theinstallation has disappeared—floating in their own white space.

In their own ways, all three of these artists use still life photography to resist forgetting, but their works are more than acts of commemoration. Reyes infuses the past with the present, immortalizing personaleffects with the weight and glow of tradition. Jones creates a constellation of mementos as an act of mourning and re-creation. And Abe reminds us how the skeletal nature of memories can become fertile ground for making new ones. All of these images speak not only of the power of objects to stand in for ideas, but of the richness of our own minds to suffuse them with meanings that stretch far beyondthe immediate or obvious.

Commentary

TomikoJones

Kyohei Abe

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Featured Artists

Tomiko Jones received a M.F.A. from the University of Arizona/Tucson in 2008 and a B.A. fromWestern Washington University, Bellingham, WA in 1996. Her work has been shown at Vermillion in Seattle, WA; Newspace Center for Photography in Portland, OR; Camargo Foundation in Cassis,France; Upfield Gallery in Tokyo, Japan, among others. Awards received include the City ArtistsGrant and a 4Culture Grant both in Seattle in 2010, a Freestyle Crystal Apple National Award in 2008, an artist residency at the Museé Niépce in Chalon-Sur-Saône, (2008) and the CamargoFoundation in Cassis, France (2009). She has taught photography at New Mexico State Universityin Las Cruces, NM, Drury University in Springfield, MO, and starts at Denver State University(aka Metropolitan State College of Denver) in Fall of 2011. www.tomikojonesphoto.com

Justine Reyes earned a M.F.A. from the San Francisco Art Institute, CA in 2004 and a B.F.A. fromSyracuse University, NY in 2000. Her work has been exhibited at the Michael Mazzeo Gallery in NewYork City; the 8th Havana Biennial, Cuba; Contemporary Istanbul in Istanbul, Turkey; the FlashForward Festival in Toronto, Canada; the Queens Museum of Art in Corona, NY; and the HumbleArts Foundation in New York, NY, among others. She was an artist in residence at the Center forPhotography at Woodstock in 2008. Reyes was awarded the Juror’s Choice Award from Center’s proj-ect competition in 2010, is a 2011 recipient of a QCAF grant from the Queens Council on the Arts andone of PDN magazine's Top 30: N ew and Em erging Photographers to W atch. She lives and works inNew York. www.justinereyes.com

Kyohei Abe earned a M.F.A. from the Cranbrook Academy of Art, MI in 2002 and a B.F.A. from theCenter for Creative Studies Detroit, MI in 1999. He also holds a degree in Architecture/ Space Designfrom Trident College of Design, Nagoya, Japan. His work has been exhibited at O’Born ContemporaryGallery in Toronto, Canada; Rayko Photo Center in San Francisco, CA; Gallery 339 in Philadelphia, PA;and the Museum of Fine Arts in Houston, TX, among others. Awards received include being a finalist for the 2009 Aperture Portfolio Prize, a finalist for Photolucida Critical Mass 2009, and an ArtisticAchievement Award from the Center for Creative Studies in 1999. Abe is currently based in Royal Oak, MI.www.kyoheiabe.com

Sharon Mizota is a writer and critic for the Los AngelesTimesand other publications. She is a recipientof an Arts Writers' Grant from the Creative Capital/Andy Warhol Foundation and a co-author of theaward-winning book, Fresh Talk/D aring Gazes: Conversations on Asian Am erican Art (University of California Press, 2003). She attended the Independent Study Program at the Whitney Museum of American Art and received a M.F.A. in Visual Arts from Rutgers University/Mason Gross School of the Arts. She lives in South Pasadena, CA.www.sharonmizota.com

TOMIKO JONES

JUSTINE REYES

KYOHEI ABE

SHARON MIZOTA

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As expected, this year’s New Works applications were ripe with complex visual ideas from a wide variety of image-makers. Narrowing my selections wasn’t easy, and I’m thrilled to have had the opportunity to play a small part in furthering the work of this year’s fellowship winners and honorable mentions. These five photographers explore a variety of themes in their respective projectsand each of them is driven by a passion to understand our evolving modern identity by considering it through their camera’s lens.

For the past 10 years, fellowship winner Rona Chang has been making photographs of her travels withan attentive eye on human interaction with the natural world. Chang’s M oving Forward, Standing Stillis a landscape series that explores themes of architectural infrastructure, urban sprawl, and industrialactivity. Like a street photographer, she waits for moments to fill the frame, capturing commonplace

Intercambio

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New Works #14: by Andy Adams

Rona Chang, Play, Lensvik, Norway, Moving Forward, Standing Still series, 2010. Digital C-print, 20x24"

glimpses of the everyday: workers repairing the Colosseum in Macau, swimmers playingin a spring pool in the mountains of Oaxaca, an outdoor shaving business on the riverbanks of Wuhan. Observing from a space outside the focus of activity, Chang’s photo-graphs reflect a unique combination of conceptual order and practical chaos. Thoughsometimes appearing staged, her careful compositions are entirely improvised, recallingclassical paintings. Chang’s pictures bear witness to her experience as a traveler andremind each of us—no matter our time and place in the world—to be still for a momentof quiet reflection.

One of the pleasures of photography is its power to pause time, to create a memory of something before it disappears. As a culture changes, the image can play a vital rolein remembering its past. Fellowship winner Alex Leme explores the fate of ruralAmerica in Sm all Town: Portraits of a D isappearing Am erica, a collection of photographsthat document the remains of this vanishing way of life. Arkansas is the first leg in Leme’s trek across the country in an effort to photograph rural towns on the vergeof collapse—and that have already passed. His journey begins in Cotton Plant, a fadingcommunity nestled in the northeastern part of Arkansas. Traditionally, “the country life”conjured images of rustic tranquility. Those days are long gone in Cotton Plant: the townis littered with gutted factories, abandoned buildings, and the remnants of a once-thrivingpopulation. What will happen to these places? Leme’s pictures don’t suggest a remedy;

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Intercambio

rather, they memorialize these towns byhonoring their history.

Africa is another economically challengedplace that has been heavily documented in images. Honorable mention awardee,Daniel Ramos, challenges that one-dimensional depiction in East of the Nile, a stunning portrait series that presents its Ugandan subjects with dignity andrespect. Blending black-and-white and colorformats, Ramos photographs his wife andin-laws as well as strangers he encounterson the street or in the hills outside the city.His relaxed compositions are hypnotic, the sitter’s gaze directly focused on theviewer. Cultural identity is complicatedand seldom represented in a single image,yet Ramos’ photographs are a meditation on the unique individuality and strength

Alex Leme, Hay Field, Small Town: Portraits of a Disappearing America series, 2009. Archival pigment print, 16x20"

One of photography’s distinctive qualities is its ability to reveal subjects that are invisibleto the eye. But carefully considered images can also make visible ideas that we find difficult to think about or discuss. Honorable mention awardee, Sarah Sudhoff’s At theHour of Our Death takes as its starting point writer Phillipe Aries’ observation that “death’sinvisibility enhances its terror.” As a teenager Sudhoff lost a friend to suicide. While visiting his home after learning of the tragedy, she witnessed a cleanup crew efficiently removing all physical traces of his final moments—the stuff of death we prefer to quietlyavoid. Brightly illuminated and full of vibrant color, Sudhoff’s large-scale photos presentswatches of bedding, carpet and upholstery marked with the signs of a passing life.Seemingly grim at first blush, the series is a fascinating and beautiful work of conceptualart. By making abstract the thing we fear most, Sudhoff brings it into stark focus.

Despite their differences, these bodies of work are inspired by a curiosity that transcendssubject matter to present an enlightened way of seeing our rapidly changing world. If you like what you see here, I hope that you’ll make time to learn about these artists.

Andy Adams is the founder and editor of FlakPhoto.com, a contemporary photography

website that celebrates the culture of image-making by promoting the discovery

of artists from around the world. An online art space + photography publication, the site

provides opportunities for a global community of artists and photo organizations to share

new work, book projects, and gallery exhibitions with a web-based photography audience.

More about him at AndyAdamsPhoto.com

of Africa’s people. By focusing on the psychological nature of its subjects andde-emphasizing the social trauma in their surroundings, East of the N ileoffersa refreshing alternate look at a peopleand place more like the West than meets the eye.

Social perception and cultural identityalso inform Susana Raab’s current series,one of this year’s honorable mentions.Peruvian by birth and father, Raab left thecountry at the age of three following herparent’s divorce. When she first returnedto visit fifteen years ago, she was surprisedto find herself nicknamed Cholita Gringaby local friends. Cholo, a racial slurassigned to Peruvians of mixed AmericanIndian ancestry, is a complicated wordwith diverse connotations that range fromdisgust to affection. Similarly, the photog-rapher’s childhood was complicated byan upbringing influenced by divorced parents living in separate cultures. Raabhas spent the past three years photograph-ing modern coastal Peruvians in order to connect with her cultural roots. HerCholita series turns common stereotypeson their head: instead of poncho-cladnatives, llamas and rural mountain paths,Raab shows us middle-class families at theseashore, urban architectural landscapes,and suburban interiors. Cholita is an ongo-ing exploration of the photographers’ fractured identity and a personal journey tounderstand her place in a lost homeland.

Intercambio

Daniel Ramos, Lily, Kampala,Uganda, East Africa, East of TheNile series, 2006. Archival pig-ment print, 30x40"

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Sarah Sudhoff, Suicide with Gun, Male, 40 Years Old(II), At the Hour of Our Death series, 2010. Archivalpigment print, 40x30"

Susana Raab, Mother andChild, Playa Agua Dulce,Peru, Cholita series, 2009.C-print, 16x20"

www.BaangandBurne.com [email protected] +1 646.926.6408 @BaangandBurne

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